Manuel de Pedrolo

Manuel de Pedrolo i Molina (Catalan pronunciation: [mənuˈɛl də pəˈðɾɔlu]; 1918 – 1990) was a Catalan author of novels, short stories, poetry and plays. He is mostly known for his sci-fi novel Mecanoscrit del segon origen (Typescript of the Second Origin).

Manuel de Pedrolo was born in 1918 in L'Aranyó, in the Segarra comarca (county), in Catalonia. After the Spanish Civil War he settled in Barcelona, where he worked a variety of jobs while writing in his spare time. From 1974, he devoted himself entirely to literature, creating works, translating, and performing minor editorial tasks. He died in Barcelona in 1990 after a long illness.

Pedrolo explored all literary genres: poetry, theatre —classified within the Theatre of the Absurd, with Pedrolo's plays included in Martin Esslin's influential study^[1] (he is the only writer from the Iberian Peninsula featured in this study)—, narrative and short stories. His entire body of work, constituting one of the most extensive corpora in Catalan literature, is often overshadowed by the success of his most famous novel, Mecanoscrit del segon origen, the best-selling book in Catalan literature.^[2]

Additional information about his life and works can be found through the Pedrolo Foundation.^[3]

Born in Castell de l'Aranyó, he belonged to a lower nobility family, the Pedrolo family. His father was a lawyer, although he never practiced. His mother died shortly after the birth of his younger brother Ramon. He studied secondary education in Tàrrega until 1935, when he moved to Barcelona; however, the Spanish Civil War interrupted his studies. In 1943, he married and settled permanently in Barcelona, in a flat-office in Sant Gervasi-Galvany (Carrer de Calvet, 9).^[4]

He began writing very young, and his work made him not only the most prolific writer but also one of the most important figures in 20th-century Catalan literature. In 1979 he received the Premi d'Honor de les Lletres Catalanes and donated the prize money (500,000 pesetas) to the Associació d'Escriptors en Llengua Catalana.^[5]

Manuel de Pedrolo maintained his firm ideological convictions until his death, becoming a committed intellectual engaged with his time and country, and a strong defender of an independent and socialist Catalan Countries. According to Anna Maria Villalonga, commissioner of the year dedicated to the writer on the centenary of his birth, "he was uncomfortable for the intellectual elite because of what he thought, but also because he did not associate with those in power."

He was particularly critical of Catalan political parties before, during, and after the Spanish transition to democracy, and was often considered a reference and intellectual of the Esquerra Independentista. This commitment was demonstrated through his participation in various solidarity campaigns and the signing of support manifestos. In 1979, he opposed the extradition from France of the Catalan independence activist Manuel Viusà^[6] and, in 1982, he signed a petition requesting that the five Catalan independence activists of the "Batista i Roca case" be tried in Catalonia instead of Madrid, as was customary at the Audiencia Nacional (Spain).^[7]

During the Spanish Civil War, he joined the CNT and worked as a teacher in Fígols de les Mines. He served in the artillery branch of the People's Army and was sent to the fronts of Falset, Figueres and Barcelona.^[8]

He began his literary career with a book of poems published in 1949. In 1953, he published his first novel, Es vessa una sang fàcil. In 1954, he won the Joanot Martorell Prize and from then on became one of the most prominent and prolific Catalan novelists of his time. He also contributed to Catalan publications such as Ariel, Canigó, Oriflama, and Serra d'Or.^[9]

Pedrolo experimented with all kinds of innovations in his novels, in which he always depicted, with strong realism, the individual navigating human qualities and contradictions. He made some approaches to Absurdist literature.^[10] He was an ambitious writer and produced a large number of works spanning numerous subgenres, from realistic novels to symbolically idealistic, police, and psychological novels. Despite exploring diverse styles, Pedrolo maintained high quality in all his works, remaining faithful to his ideas and refusing to publish in Spanish, even if it could have been more profitable. He skillfully combined and innovated various styles throughout his oeuvre, always reflecting his own thinking and personality.

He was a member of the Associació d'Escriptors en Llengua Catalana, which organized the Mecanoscrit Prize for young writers from 1984 to 1989.^[11]

Pedrolo died on 26 June 1990 in Barcelona from cancer at the age of seventy-two.^[12]

In 2018, on the centenary of his birth, the Government of Catalonia officially commemorated the Year of Manuel de Pedrolo.^[13] The same year, Bel Zaballa published his biography, Manuel de Pedrolo. La llibertat insubornable.^[14]

According to Graells, Manuel de Pedrolo's theatrical work can be grouped into three periods: the first, from 1951 to 1956; the second, which could be called the "fertile triennium" (1957–1959); and the last, which includes his later production, from 1962 to 1978.^[15][16]

The first period includes the plays Els hereus de la cadira (1954) and La nostra mort de cada dia (1956), which feature realist elements that disappear in his later works. The central period comprises eight plays: Cruma (1957), Pell vella al fons del pou (1957), Homes i No (1957), Situació bis (1958), Algú a l'altre cap de peça (1958), Darrera versió, per ara (1958), Sóc el defecte (1958), and Tècnica de cambra (1959). The third period includes Acompanyo qualsevol cos (1962), Bones notícies de Sister (1962), L'ús de la matèria (1963), La sentència (1966), Aquesta nit tanquem (1973), and D'ara a demà (1977). However, the relationship among these works is less clearly defined.^[15]

Rosselló, on the other hand, refers to a central production period between 1957 and 1963 (from Cruma to L'ús de la matèria), consisting of two types of plays: one in which the protagonist rebels against a situation of oppression, and another focused on philosophical issues such as knowledge, communication, fate, or death.^[16]

Beyond his work as a writer, Manuel de Pedrolo also carried out significant translation work, with 42 published translations.^[17] His first translations were of poetry from French (Rimbaud, Valéry, Éluard), English (Eliot, Sitwell, Pound), and Italian (Quasimodo). However, most of these translations were never published.^[17] Later, he also translated Sandburg, Cummings, Corso, Baudelaire, Campana, Ungaretti, and Saba, among others.^[18]

Regarding novel translation, Pedrolo directed the series «La Cua de Palla», which included translators such as Maria Aurèlia Capmany, Ramon Folch i Camarasa, Josep Vallverdú, Joaquim Carbó, Rafael Tasis, Maurici Serrahima i Bofill, Joan Oliver, and Pedrolo himself.^[17] Pedrolo is considered the introducer of contemporary North American fiction in Catalonia, with translations of Dos Passos, Salinger, Kerouac, Faulkner, Steinbeck, and Miller, among others.^[19]

In 1976, due to vision problems and back pain, Pedrolo abandoned his translation activity to focus exclusively on writing, although some translations he had completed previously were still published.^[17]

Manuel de Pedrolo was the most persecuted writer under Francoist censorship.^[5] Considering books written and published between 1949 and 1980, Pedrolo's manuscripts had to wait on average eight years for narrative works, five years for poetry, and ten years for theatre.^[20] In this period, thirty-three books waited more than ten years before being published; three of them (L'interior és el final, Fronteres interiors, and La nit horitzontal) waited over twenty years.^[20]

The first publishers willing to submit Pedrolo's manuscripts for censorship were Arca, Albertí, Moll, and Selecta.^[21] Due to the difficulty of finding publishers willing to present their manuscripts to censorship, Pedrolo, like other writers, used the obligation of publishers to print awarded works, as he himself acknowledged in an interview by Josep Maria Espinàs in the magazine Serra d'Or:^[22]

These awards —I am told— are no longer for us, those who have a history as novelists. It would be logical for the awards to be contested by younger or new writers, to make a name for themselves and enter the publishing world. But in Catalonia, something strange happens —at least for me: I have the name, but I don't have the publishers. So I need to go to the awards to force the publication of a book. Having published seventeen does not yet allow them to accept book eighteen.

(…)

An award would be justified if, after winning it, the writer could have a normal literary career.

The main criteria applied to censor Pedrolo's work were "what we call Catalanism, political opinions, religion, sexual morality, and indecent language". Additional arguments could be added, as in the case of the novel Un amor fora ciutat (1959), regarding the literary quality of the work: «Por todo ello, y sobre todo por la excelente calidad literaria de la obra, consideramos a esta de gravemente peligrosa y en todo caso como atentatoria a la moral pública, conforme a la reiterada jurisprudencia del Tribunal Supremo sobre el homosexualismo. En consecuencia no debe ser aceptado el depósito y si ser puesta la obra a disposición del Ministerio Fiscal» ("For all these reasons, and above all for the excellent literary quality of the work, we consider it gravely dangerous and, in any case, offensive to public morality, according to the repeated jurisprudence of the Supreme Court regarding homosexuality. Consequently, the deposit should not be accepted and the work should be placed at the disposal of the Ministry of Justice").^[21]

Despite being considered one of the most ambitious writers in Catalan, having cultivated virtually all literary genres, Manuel de Pedrolo is especially known for his vast production of prose, with more than 72 novels published between 1949 and 1985, many of which were detective novels. Most of them were thoroughly censored under the following terms: "Catalanism, political opinions, religion, sexual morality and indecorous language".^[24] He also translated into Catalan works by John Dos Passos, William Faulkner and Jean-Paul Sartre. Throughout his life, he had several run-ins with Spanish fascists around censorship issues. He also received many awards and was bestowed with the highest honors in Catalan literature.

Pedrolo's literary style is remarkable for its versatility and experimentation. Across his works, he combines elements of realism, detective fiction, adventure, science fiction, and existential reflection. His novels often examine the ethical and social responsibilities of individuals, frequently set against the backdrop of contemporary Catalan society under political and moral restrictions. Through vivid characterization and narrative innovation, Pedrolo addresses themes such as human resilience, freedom, identity, and the preservation of culture.

For example, in works such as La mà contra l'horitzó ("The Hand Against the Horizon") and Estrictament personal ("Strictly Personal"), Pedrolo explores psychological realism and moral dilemmas, portraying characters grappling with personal and societal constraints. His detective novels, such as Joc brut ("Dirty Game") and Totes les bèsties de càrrega ("All the Beasts of Burden"), blend suspense with social critique, highlighting human greed, corruption, and ethical ambiguity.

Pedrolo's science fiction works, most notably Mecanoscrit del segon origen ("Typescript of the Second Origin"), exemplify his ability to combine speculative imagination with rigorous attention to scientific detail and cultural reflection. In Mecanoscrit, he narrates the survival of two children, Alba and Dídac, in a post-apocalyptic world, emphasizing both the practical challenges of rebuilding society and the philosophical questions of morality, human responsibility, and cultural preservation. The novel's accessible yet cultivated language, along with its psychological depth and ethical concerns, contributed to its wide reception among both adult and adolescent readers, making it a cornerstone of modern Catalan literature.

Pedrolo also experimented with narrative structure and voice, as seen in works such as Crucifeminació ("Crucifemination") and Procés de contradicció suficient ("Process of Sufficient Contradiction"). These novels often employ multiple perspectives, fragmented chronology, and symbolic motifs to challenge readers’ expectations and provoke reflection on issues such as gender, power dynamics, and social injustice. His short stories and journalistic writings, like Crèdits humans ("Human Credits") and Cal protestar fins i tot quan no serveix de res ("One Must Protest Even When It Serves No Purpose"), extend these concerns, offering concise yet incisive examinations of ethical, social, and political dilemmas.

In theater, Pedrolo's plays, including Cruma ("Chaff") and Homes i no ("Men and Not"), reveal his interest in experimentation and societal critique. He often uses minimalist staging, symbolic actions, and intense dialogue to explore moral and existential questions, paralleling themes from his prose works. Across all genres, Pedrolo's writing consistently combines narrative accessibility with intellectual depth, blending storytelling, ethical reflection, and cultural commentary.

Pedrolo's name is permanently associated with Mecanoscrit del segon origen ("Typescript of the Second Origin"). First published in 1974, it became the most broadly disseminated Catalan fiction book in the following decade, with 26 editions and over 270,000 copies sold by 1986.^[25]

The novel tells the story of Alba, a fourteen-year-old girl, and Dídac, a black nine-year-old boy, who become the only surviving humans on Earth after an alien holocaust wipes out mammal life. Together, they attempt to survive in a post-apocalyptic world, preserving human culture and ensuring the continuation of the species.

Although not initially aimed at young readers, the dramatic and relatable situation of the main characters contributed to its popularity among teenagers, and it remains compulsory reading in many Catalan high schools. From an adult perspective, Alba and Dídac's determination to survive provides a profound meditation on life, hope, and human responsibility. The book's combination of adventure, scientific detail, and ethical reflection illustrates Pedrolo's signature method: integrating literary sophistication with compelling, accessible storytelling.

The novel also reflects themes present throughout Pedrolo's oeuvre: the moral responsibility of the individual in society, the importance of cultural continuity, and the struggle for human dignity in the face of catastrophic events. Its structure, clear prose, and meticulous world-building demonstrate how Pedrolo merges speculative fiction with humanistic philosophy, making it both a landmark in Catalan literature and a touchstone for discussions of post-apocalyptic ethics.

Overall, Pedrolo's body of work exhibits a consistent commitment to exploring social, ethical, and existential themes through a wide array of genres. His narrative experimentation, psychological insight, and cultural engagement have cemented his reputation as one of Catalonia's most influential and versatile literary figures.

• Joanot Martorell Prize, 1954, for Estrictament personal (Strictly Personal).
• Víctor Català Prize, 1956, for Crèdits humans (Human Credits).
• Sant Jordi Prize, 1962, for Balanç fins a la matinada (Balance Until Dawn).
• Gold Letter, 1966, for Cendra per Martina (Ashes for Martina).
• Serra d'Or Critics Prize for Novel, 1968, for Totes les bèsties de càrrega (All the Beasts of Burden).
• Prudenci Bertrana Prize, 1968, for Estat d'excepció (State of Exception), published in 1975 as Acte de violència (Act of Violence).
• Serra d'Or Critics Prize for Novel, 1972, for Situació analítica (Analytical Situation).
• Serra d'Or Critics Prize for Short Stories, 1975, for Contes i narracions (Stories and Narratives, second volume).
• Serra d'Or Critics Prize for Novel, 1977, for Procés de contradicció suficient (Process of Sufficient Contradiction).
• Honor Prize of Catalan Letters, 1979.
• Serra d'Or Critics Prize for Narrative, 1991, for Disset contes i una excepció (Seventeen Stories and One Exception).
• Serra d'Or Critics Prize for Biographies and Memoirs, 1992, for Darrers diaris inèdits. Blocs 1988-1990 (Last Unpublished Diaries. Blogs 1988–1990).
• Streets named in his honor in Girona and Sant Cugat del Vallès.^[26]

All contents in this article come from different editions of Manuel de Pedrolo's books:

• Manuel de Pedrolo: Mecanoscrit del segon Origen. Barcelona: Edicions 62, 1986. (A special edition for La Caixa, with a foreword by Francesc Vallverdú.)
• Manuel de Pedrolo: Mecanoscrit del segon Origen. Barcelona: Edicions 62, 1996. (Edited by Carme Ballús Molina.)

• Dalmau, Ferran; Juvillà, Pau (2010). EPOCA, The Army in the Shadows. Col. Muixeganga, 11. Lleida: Edicions El Jonc. ISBN 978-84-933721-8-8. {{cite book}}: Check |isbn= value: checksum (help)
• Pijuan, Alba (2016). Manuel de Pedrolo, Translator of Poetry (PhD dissertation). Autonomous University of Barcelona.
• Zaballa, Bel (2018). Manuel de Pedrolo: The Insubornable Freedom. Sembra Llibres. p. 168. ISBN 978-84-16698-21-9.

• "Manuel de Pedrolo". lletrA-UOC – Open University of Catalonia.